From first-time feature filmmakerDarius Marder, the dramaSound of Metalfollows a drummer named Ruben (RizAhmed) who, after years of playing punk-metal shows in seedy bars and clubs, suddenly develops severe hearing loss that essentially ends his music career. Not adapting to his new situation well leads his girlfriend, Lou (OliviaCooke), to take Ruben to a secluded sober house for the deaf where he struggles to find his place in his new reality.
During this 1-on-1 phone interview with Collider, Ahmed, who gives a truly award-worthy performance, talked about why he’s so proud of this project, the boldness of Marder’s vision as a director, having to work very quickly and not overthink things during the shoot, using the feeling of being off-balance and overwhelmed to his advantage, and how terrifying the live performance was. He also talked about whether he’d ever star in a straight-up musical, and whether he’ll be a part of theRogue Oneprequel series for Disney+.
COLLIDER: This movie is terrific and you’re fantastic in it. You should be very proud of the work you did on this.
RIZ AHMED: Thanks so much. That’s kind of you.
What was your experience like seeing the finished film for the first time?
AHMED: It was interesting. I saw several rough cuts of it. Darius [Marder] was very generous in bouncing ideas, so it wasn’t an unveiling of a finished product, with all of the sound design completed, in that sense. But when I did see it finally, with all of the sound design and all of the captions, I just was so in awe of what Darius had created. He created such a distinctive piece, I think. It’s a film that takes place in almost three different worlds, and yet it’s grounded and rooted in such a consistency of intention and aesthetic. You’ve got the world of the band with Lou and Ruben, you’ve got the deaf community with Joe, and then suddenly you’re in Paris, with a character that looks completely different than the one you started out with, at least visually. You’re in a totally different place, emotionally, and yet, it just felt so rooted, in terms of sound design and the way it was shot.
The closed caption was such a bold choice and such a statement, and one that we discussed and were so proud of, and that we hope helps to set some precedents, going forward, for other films. Like any film, when you’re in it, you’re in it. And then, when you step back and see, it can be a little bit mind-blowing or make you feel a bit uncomfortable in different ways. But with this, I was just in awe of the consistency and boldness of Darius’ vision, particularly when I think about how it was made in such a short period of time with such little resources. I was thinking a lot less about my performance and a lot more about what Darius achieved if I’m honest.
When you’re playing a drummer who suddenly goes deaf and you’re doing this film with no money and you’re shooting on film, do you have to just get things done and move on? What’s that like when you’re in it? How do you keep from being in your own head and staying in the moment and not overthinking things?
AHMED: In a way, the conditions that Darius set up and the way that we want to approach this film were really very conducive to not overthinking things. When you only get one or two shots of something, you’re not going in thinking about trying it this way and that way. You just have to go from the gut and be in the moment. We were also shooting chronologically, which helps us live through it. And also, the way that it was shot, we didn’t have a lot of takes, but there was an intimacy and an observational, almost documentary style to the way things were done that really helped us to live in it a bit more. There were a lot of different things to juggle, for sure. Learning the drums is one thing, but spending seven months learning them and then having two takes to do the gig is another thing. And you have to make sure that you don’t pull really bizarre faces on camera, which I realized I was doing the day before the gig. The day before the gig, I realized that I was doing this bizarre thing with my jaw when I’m playing the drums. And then, we had the auditory blockers, which were these inverted hearing aids that would emit white noise deep in my ear canal.
There were all of these different things and to be honest, the combined effect of it is to just throw you massively off balance and overwhelm you. In a way, that’s what I seek. I attempt to put myself in situations where I’m off balance and overwhelmed enough to not be in control and to give up control. At that point, interesting things happen. At that point, you’re carried along by the currents of your preparation and the situation, rather than controlled by decision-making and your intellect. In a way, it’s a gift. The challenges always end up being gifts. That’s something that I really learned in a new and profound way, making this film, because of everything we’ve spoken about, but it’s also something that Ruben does. The challenges can be gifts. The same things you’re running from and are scared of might be the things that bring you closer to yourself.
It’s such a hard thing to capture the feeling of a live musical performance andSound of Metalpulled that off in such a real way. What was it like to shoot the live performance? Is it terrifying, is it exciting, is it both of those things?
AHMED: Yeah, it was terrifying, and it was very adrenalizing. I remember it so clearly. Some days on set, you kind of remember, but I remember that so clearly. I remember being in the dressing room, getting ready, and getting up on stage. It was like a gig. It was my first gig as a drummer, and it was basically a real gig in a real club, with an audience. It was intense. My biggest thing was just feeling like, “Man, I wanna keep doing this. I’ve been preparing for this so long, I wanna keep doing it.” But that’s not how it works when you play a gig. That’s not the truth of it. The truth is that, when I think of my own career as a rapper, I always come off stage going, “Man, I wish I could have done this better.” That’s what live performance is. It’s about riding the adrenaline and embracing the imperfection a little bit.
When it comes to your rap career, the clip from a few years ago, of you and Donald Glover rapping, is still straight fire. Would you ever do an album with him? Was that something you guys ever like talked about or thought about doing after that?
AHMED: No. I’ve met him a handful of times. It would be bizarre if an offer to do an album was on the table. You’d have to ask him. It was fun doing that. It was many years ago, and it’s been really fantastic to see how his career and his creativity continues to blossom and grow, in multiple mediums. It’s definitely inspiring, and it creates space for other people to experiment in new mediums and move between them, as well. So, I’m just someone who’s always rooting for him.
Could you see yourself ever starring in a straight-up musical?
AHMED: Interesting question. I guessMogul Mowgliis a musical. I don’t know what a straight-up musical would be anymore. I feel like things are changing so much. People are watching movies on YouTube. People are listening to podcasts on Spotify. Everything is jumbled together now. Apple is a streaming service that has movies.
In a way,Sound of Metalis a musical, in some sense, and I haveMogul Mowgli, which is not out in the U.S. yet, but it will be out next year, hopefully post-COVID when theaters reopen.Mogul Mowgliis the closest I’ve come to doing a musical. I’m performing my own music in it, I play a rapper, and it’s very much grounded in that. Something I hadn’t realized before, but having done these two films, I think that there’s a tremendous opportunity, storytelling wise, in musicals, to move the story forward at a different pace, a different register, and different depth of emotion. It also allows you to step outside of the story and its structure. It’s an interesting way of telling a story. I’m always open to trying things out. What I haven’t done yet is a musical where I’m singing. I would feel totally out of my depth with that, so maybe that’s the next thing I should seek out.
You also got to be a part of the Star Warsuniverse withRogue One, and now there’s this prequel series coming up for Disney+ with Diego Luna returning to his character. Have you been approached, at all, about being a part of that? Would you like to return to that whole world?
AHMED: I haven’t really been in the loop with that, to be honest. If they do a TV series, I’m rooting for them. I was proud be a part of theStar Warsfamily. Once you’re a part of the family, you’re a part of the family. I’m not involved that I know of, but I’m rooting for them.
Well, you might get a phone call, if there’s a Season 2.
AHMED: Right, right.
Sound of Metalis now available to stream on Amazon Prime Video.
